Dissertationen: „Urban theatre“

1

Wessels, Anton. „STDC State Theatre dance centre“. Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10122006-121626.

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2

王樂賢 und Lok-yin Lloyd Wong. „Theatre, matrix of urban space: community's focus on Gough Street“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986869.

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3

Wong, Lok-yin Lloyd. „Theatre, matrix of urban space : community's focus on Gough Street /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954635.

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4

Reisin, Vanessa Raquel. „theatre: analogy of the city reflected inward“. Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/34834.

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this thesis is an exploration of rational architectural forms and urban ideas. reflections of density, circulation, rhythm, pattern, and punctuation. the formal consequence of two ideas, city and spectacle, manifest in a theatre for the acrobatic performing arts. on the exterior, an autonomous construction where the architecture is a confrontation to the urban world. internally, a world where spectator and spectacle exist playfully through drawing, modeling, and collage. the project brings the structure of the city to the structure of the theatre. theatre as analogy, a city turned inward.
Master of Architecture

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5

Syron, Liza-Mare. „Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /“. Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.

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6

Kigombe, Novetha [Verfasser]. „On the management of Theatre Groups in Urban Tanzania / Novetha Kigombe“. Berlin : Freie Universität Berlin, 2016. http://d-nb.info/1117028410/34.

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7

Feinberg, Matthew Isaiah. „LAVAPIÉS, MADRID AS TWENTY-FIRST CENTURY URBAN SPECTACLE“. UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/216.

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Informed by the theories of Henri Lefebvre regarding the production of space and the theories of scale found in current scholarship in Cultural Geography, my methodology analyzes both dramatic texts and theater spaces to investigate how cultural production and capital converge in the “spectacle” of urban space. While employing this term “spectacle” to describe how dramatic texts, theater productions, and modern architecture transform the urban landscape into a metaphoric theater space for the production of local, national, and global identities, this project examines the relationship between theater and urban change in Lavapiés, an iconic, multicultural, and oftenunderserved neighborhood located in the Embajadores district of Madrid, Spain. Against the historical backdrop of the neighborhood’s long and important relationship with theater and theater spaces from the seventeenth century onwards, I analyze a range of urban spectacles taking place in Madrid between 1997 and 2006. This analysis includes close readings of contemporary plays that represent the urban space of Lavapiés and Madrid, an analysis of the architecture of power articulated in the the municipal government’s Plan General de Ordenación Urbana de Madrid 1997 [Plan for Urban Development for Madrid 1997] and the recently constructed Teatro Valle-Inclán Centro Dramático Nacional [National Drama Center]. Finally, I look at the cultural activities of the squatters (okupas) of the Laboratorio 03 who between 2002 and 2003 transformed an abandoned warehouse into a space for art, theater, and cyber resistance that sought to shatter the illusion of capitalist spectacle projected by the gleaming steel and glass of the new condominiums and cultural institutions represented by the aforementioned Teatro Valle-Inclán. Overall, this project looks to this range of traditional and nontraditional texts to illustrate how Madrid’s historical dynamic between urban space, power, and theater continues to be manifested in the contemporary spectacle of Lavapiés.

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8

Gomes, Fausto. „São Paulo: An Ecological View Of A Theatre For Modernity“. Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2850.

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Future challenges for human civilization, especially in the developing world, will increasingly be characterized by both an urban and global condition. What will be the response by design in the face of the implications of this unprecedented scale of development? The thesis is a speculative analysis of the essential nature of the phenomenon of the global mega-city, and is a necessary first step in creating a framework to answer this question. The Brazilian city of São Paulo is chosen as this thesis case study because it is a 'matured' version of this Modern urban phenomenon. Underlying and guiding the creation of this picture of the mega-city is the assertion that the fundamantal nature of the phenomenon of São Paulo is essentially an ecological one. Like any other ecological analysis, the first stage of the inquiry is to identify the motivating force that orders the system and propels the change of the urban ecology. In the case of São Paulo, the thesis develope a picture of an urban agglomeration that has been driven by the unrestrained forces of the aspirations of global Modernism and the exploitation of growing urban multitudes by the personal avarice of capitalism. São Paulo is seen as an urban experiment that rests in the tacit gamble that the economic aspirations underlying São Paulo are limitless in the face of the obvious limits of the city' and globe's biosphere. This relationship between urban organism and host ecology is characterized as parasitic and like the economic and social propelling forces of Modernity, forms the fundamental underlying relationships of the ecology of São Paulo. These relationships in juxtaposition with the propellant force of Modernism, form the sketch of a framework that the thesis proposes for a responsible position for design in the mega-city. In light of this ecological sketch of São Paulo, the underlying perpective for design in the mega-city seeks to strike a balance between economy, ecology and should be founded on a view of the city as an investment that can be evaluated for its performance in providing the context for human flourishing in relations to its use of natural resources.

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9

Hofmeyr, Andreas Murray. „(Inter-) facing space : a forum-based theatre inside an indeterminate urban site“. Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29804.

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The study will investigate a design intervention that attempts to respond to the condition of spatial indeterminacy in the Sammy Marks precinct of Pretoria, where this condition is heavily pronounced in the form of disused public squares, inactive edges and inner-block voids. The study suggests that developing these spaces as cultural interfaces can provide a foothold for emergent city life and cultural activities. The specific project intervention will take the form of a theatrical interface that will serve as a platform for public interactive theatre events and a theatre school. The client is the State Theatre, in collaboration with the Department of Public Works. The site of the intervention is located in close proximity to the State Theatre. An investigation of the site and its surrounding context will generate opportunities for specific intervention.
Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
unrestricted

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10

Roy, Sylee. „'City plays' : a study of urban theatre in India since the 1970s“. Thesis, University of North Bengal, 2021. http://ir.nbu.ac.in/handle/123456789/4801.

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11

André, Carminda Mendes. „O teatro pós-dramático na escola“. Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-05062007-092024/.

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Com a publicação da Lei Nº9.394/96, que transforma as atividades de artes em área de conhecimento no currículo escolar, surge a necessidade de se pensar um ensino de teatro mais afinado às condições da cultura na contemporaneidade. Esta pesquisa teórico-prática, de cunho artístico-educacional, trata de uma possível maneira de articular certa tendência teatral a discursos pedagógicos, levando em consideração o contexto da escola pública brasileira. Enfatiza a importância de se pensar um ensino que possa ser exercido para além da sala de aula, interagindo no ambiente, fazendo da atividade teatral também uma ação cultural. O trabalho propõe que, no campo do ensino do teatro, as metodologias adotadas ainda estão presas a modelos estéticos que se mostram cada vez mais insuficientes para enfrentar as constantes mudanças processadas no contexto cultural, principalmente naquilo que diz respeito às questões da recepção. O modo proposto para o enfrentamento de tal contexto é o de tornar as artes aliadas, mas independentes, dos discursos pedagógicos. Dessa maneira, acredita-se que os processos artísticos possam tornar-se também educacionais, proporcionando aos participantes a experiência de mudar o valor das coisas. Propõe-se ainda uma atitude docente que se diferencia de uma simples metodologia por suas finalidades; enquanto nessa trabalha-se a partir de um projeto, com diagnósticos e um objeto a ser alcançado, a atitude aqui proposta não sistematiza previamente, é uma ação que somente tem valor pelo efeito que provoca: o de mudar o curso do sentido daquilo em que atua. Com base em algumas referências teóricas, como Foucault, Lyotard e De Certeau, a tese indica um modo de pensar o ensino que enfatiza uma abordagem do presente que pode transformar o teatro em uma atuação nesse presente, no espaço da escola e no ensino de arte. Tal atitude pode ser observada nas proposições artísticas filiadas às ações do happening, da performance e das intervenções urbanas que, em conjunto, formam o que aqui é denominado teatro pós-drámatico.
With the publication of the law Nº9.394/96 in Brazil, which one transforms artistic activities in knowledge area of the school curriculum, appears the necessity of thinking about a theater learning accordingly with the contemporary culture. This research theoretical-practical, in essence artistic-educational, look for a way of articulate a specific theater tendency with the pedagogical speech, considering for this the context of Brazilian public school. Emphasize the importance of thinking over a learning that can be done beyond the classroom, interacting with the social environment and making this theater activity also a cultural action. This work proposes, in the field of theater learning, that the adopted methodologies are still arrested to esthetic models, which show themselves each time more insufficient to face the constant changes processed in the cultural context; mainly about the message receiving questions. The way proposed to face this context is to make the arts allied, but independents from the pedagogical speeches. In this way, we believe that the artistic processes could be educational too, providing to the participants the experience of change the value of the things. Still proposes a teaching attitude that is different from a simple methodology by their objectives; while in this we work starting from a project, with diagnostics and a goal to be reached, here the proposed attitude do not systematizes previously, because it is an action that only have value by the effect it causes: the change of the path of the meaning from that is acting over. Well-grounded in some theoretical references, as Foucault, Lyotard and De Certeau, the thesis indicates a way of thinking about a teaching that emphasizes an approach to the present that can transform theater in an acting in this present, in the school space and in the art teaching. This attitude can be observed in the artistic proposals linked to the action of happening, of performance and of urban intervention that, together, form what we call here as post-dramatic theater.

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Humphrey, Christopher. „The dynamics of urban festal culture in later medieval England“. Thesis, University of York, 1997. http://etheses.whiterose.ac.uk/9835/.

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A distinctive subset of late medieval drama are those customs which involved an element of subversion or inversion on the occasion of a calendar feast. These customs, which may generically be labelled as misrule, have long been a source of interest to antiquarians, local historians and students of medieval drama and popular culture. One particular view which has dominated the discussion and interpretation of misrule is the approach which sees such practices as a conservative force in late medieval society, that is, by temporarily challenging authority these customs merely reaffirm it in the long run. It is the contention of this thesis that although this model has raised the important question of the relationship between misrule, politics and social structure in this period, it is inappropriate both as a metaphor and as a tool for the analysis of these themes. I review the scholarly literature on misrule over the past twenty-five years in Chapter One, drawing attention to the problems of previous approaches. In Chapter Two I put forward what I believe to be a more appropriate vocabulary and framework in which those calendar customs with a transgressive element can be discussed. I suggest that misrule is more constructively approached as an instance of symbolic inversion, which enables functionalist terms like 'safety-valve' to be replaced by a neutral language that does not prejudge the function of a custom. I use this new methodology to undertake a series of case-studies in Chapters Three to Six, each of which examines the function of a particular custom. I am able to show that misrule could have a variety of functions in the late medieval town, playing a part in local change as part of wider strategy of resistance, as well as being one means through which social status could be accumulated and articulated.

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Mbothwe, Mandla. „An African Dream Play = Isivuno Sama Phupha : reconstructing the spirit of ubuntu in the contemporary urban 'village' through theatre“. Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8164.

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Includes abstract.
Includes bibliographical references (leaves 43-44).
My project proceeds from the question: What might an African Dream Play be for the 21 st Century? Or how might dreams be used to generate content and presentational form as well as to influence the way in which the audience experience or participate in the performance event? My interest in the African Dream Play lies in a belief that it might provide a means of reconstructing the spirit of ubuntu through theatre. It seeks - both in process and presentation - to include in this reconstruction, that which is popularly known as moral regeneration - which I see rather as spiritual regeneration. My contention is that we, and particularly young people, are living in a social and spiritual crisis and the African Dream Play attempts a trans formative intervention within the dynamic fabric of the contemporary urban 'village'-a space of many cultures, languages, ideologies and levels of economic status. This explication sets my practical research and the production Isivuno Sama Phupha in particular, in a theoretical framework and performance historical context. It draws on the theories of Victor Turner, specifically his concepts 'liminality' and 'communitas' and his idea of the social drama. It then traces the evolution of my theatrical research: first through an interest in cultural and religious practices prevalent in the townships around Cape Town and how they might be used to generate material for the theatre and an aesthetics of presentation that could stimulate the communitas experience for both the performers and the audience; then, on to dreams and how they might provide the stimulus for my envisaged theatre by utilizing an experience of their essential liminality.

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Woynarski, Lisa Christine. „Towards an ecological performance aesthetic for the bio-urban : a non-anthropocentric theory“. Thesis, Royal Central School of Speech & Drama, 2015. http://crco.cssd.ac.uk/551/.

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As current precarious ecological conditions require urgent and multi-scalar responses, performance has an opportunity to creatively respond to the ecological situation, opening up new ways of thinking and engaging the public’s imagination. Problematising differentiating practices that divide humans from ‘nature’, I suggest performance may highlight the interconnectedness of humans and the more-than-human world by theorising, revealing and critiquing ecological relationships. My research into an ecological performance aesthetic takes up this opportunity and conceives of new ways of critically thinking about performance. I engage a range of ecological philosophy, combined with ecodramaturgical analysis of performance, to theorise the intersection of performance and ecology. Ecodramaturgy (May 2010) combines ecocritical and applied approaches to performance with ecological ways of performance-making, and represents a critical extension to the discipline of performance studies. Drawing on the ecomaterialism of Bennett (2010), Latour (2004), Alaimo (2013) and Barad (2012), I theorise ‘nature’ as a set of interconnected relationships, which disrupts the binaries between urban/nature, nature/culture, human/nonhuman. I coin the neologism the bio-urban to reflect the vibrancy and material agency of ecological relationships in urban settings. The focus on urban-based practice resists the rural bias present in much ecological writing (Harvey 1993b) and addresses a gap in scholarship around urban ecology in relation to performance. This research centres on a wide variety of illustrative, broadly site-based performance events, including urban gardening performances (and my own practice), walking and cycling performances, installation, live art, theatre pieces and work in places such as streets, mountains, (urban) meadows, cemeteries and rivers. I consider the way in which performance engages with the world, through the interrelated and overlapping discourses of postcolonial ecology, human geography and urban ecology. An ecological performance aesthetic informs modes of practice, presentation and reception, within current ecological conditions. From the provocation of the bio-urban, I theorise immersion and ‘environmental participation’, drawing on the corporeality of our relationship to the space around us, following ecological phenomenology. I then examine oikos as (earthy or planetary) home and consider it in relation to dwelling, suggesting that ecological performance opens up a space for critiquing these ideas. The complex relationship between the local and global is characterised in performance through eco-cosmopolitanism (Heise 2008). Finally, I suggest a non-anthropocentric paradigm for performance, one that employs an ‘ecological anthropomorphism’ that accounts for the material agency of the more-than- human, as well as the human as a geophysical force (Chakrabarty 2012). The aim of the research is to articulate an ecological performance aesthetic, extending and developing the field of performance and ecology.

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Blackmore, Ernie. „Speakin' out blak an examination of finding an "urban" Indigenous "voice" through contemporary Australian theatre /“. Click here for electronic access to document: http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080111.121828/index.html, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080111.121828/index.html.

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Thesis (Ph.D.)--University of Wollongong, 2007.
"Including the plays Positive expectations and Waiting for ships." Title from web document (viewed 7/4/08). Includes bibliographical references: leaf 249-267.

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Ma, Hoi-yin Claris. „A youth oriented activities space in our urban area“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951488.

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Cable, Courtney T. „The Akron Civic Theatre: A Digital Presence“. University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321465122.

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18

Roma, Greer Kathleen. „He Puts Out His Hand. You Put Out Your Hand. Emerging, Urban, Aboriginal Theatre-Makers. What Does it Take to Emerge?“ Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10047.

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The largest percentage of Aboriginal and Torres Strait Islanders in Australia live in Sydney. Despite this large Aboriginal and Torres Strait Islander population, there is there is very little recorded evidence of a prominent artistic presence of Aboriginal theatre-makers who are creating new, contemporary expressions of urban culture. From 2007-2011, PACT centre for emerging artists (PACT) created a series of Aboriginal-specific opportunities and programs for emerging, urban, Aboriginal theatre-makers who were interested in experimenting in new methods of creation and exploring their urban, lived experience. These opportunities generated a small, critical mass of Aboriginal theatre-makers. The program was in many aspects successful, however it also faced various challenges and misunderstandings. When one of the participating artists, Björn Stewart, presented a new performance work that expressed confusion, dislike and a sense of manipulation in the opportunities he was being offered as an artist by various organisations, it highlighted that perhaps the opportunities being offered to these theatre-makers were not what was perceived as being needed, and that there are varying motivations, agendas and expectations behind such opportunities by those providing them. This study identifies three key stakeholders who contribute to different points of the development of opportunities and new Aboriginal works: the funding body, the arts organisation and the artists. Using PACT’s Aboriginal-specific opportunities as a case study, this research set out to discover: (i) if current opportunities being offered to urban, emerging, Aboriginal theatre-makers are effective; (ii) what are the stakeholders’ perceptions about what is required; and most importantly, (iii) do these perceptions align with each other, and if not, what is the impact on Sydney, urban, emerging Aboriginal theatre-makers? To date, there has been no record of emerging, urban, theatre-makers having been consulted or given the opportunity to voice what they believe an emerging, urban, Aboriginal theatre-maker requires to “emerge”. This study begins that record.

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Bell, Charlotte Sophie Louise. „On site : art, performance and the urban social housing estate in contemporary governance and the cultural economy“. Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8946.

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This thesis questions how sub-disciplines in theatre and performance negotiate ‘sitespecificity’ as an aesthetic practice and tool of urban governance that ‘sees’ and ‘performs’ social housing estates. As a practice that, predominantly, takes place beyond conventional performance spaces, applied theatre might be a paradigmatic form of socially engaged sitespecific activity. However, scholarship on the ‘social turn’ more readily cites Bourriaud’s ‘relational aesthetics’, or Bishop and Jackson’s critiques of ‘social practice’, which emerged in gallery and visual arts contexts. The ‘social turn’ poses problems for scholarly relations between ‘social practice’, ‘applied theatre’, the cultural economy and urban governance. I draw on socio-legal scholar Valverde’s ‘seeing like a city’, theatre scholar McKinnie’s ‘performing like a city’ and cultural economy as a theoretical framework, developing McKinnie’s concerns with ‘cultural equity’, and Harvey’s use of ‘fixed capital’ and ‘consumption fund’ in my analysis of relations between cultural and social realms. Consequently, this project hopes to contribute to an emerging area of research between socio-legal urbanism and performance studies, complicating ‘site-specificity’ as a descriptive category. Over five chapters I analyse site-specific works about estates staged in Lambeth and Southwark (inner-city London boroughs) since 2008. First, I examine relations between site-specificity and estate regeneration: the representations of overhead walkways in Delahay’s The Westbridge (2011) and Cotterrell’s Slipstream (2011) and the estate as ‘ruin’ in two Artangel interventions, Seizure (2008) and Pyramid (n.d.). I then shift to issues raised by legal and social boundaries in governance; I examine SLG’s partnerships with a neighbouring estate and ‘issue-based’ plays in two examples of theatre for young people. The final chapter draws out the project’s wider thematic concerns: the aesthetic implications of pedagogy and funding bodies on imaginings of site. This project calls attention to the complex cultural, socio-legal and economic structures that shape our cities, and the degrees to which they might be repurposed or re-imagined.

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Hamilton, Mark James. „Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)“. Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.

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This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit. The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge. In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?

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Kao, Stella. „Rediscovering the House and Body: Theatre and Performance Life in Hong Kong in the 1990s“. Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10423.

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What the future brings for Hong Kong and its residents had been urgently debated in local and global conversations during the period leading to the 'handover,' or, Hong Kong’s 'return' to China in 1997. My dissertation examines differing attempts by theatre practitioners to respond to these questions in the 1990's, and to inscribe new 'local-ethnographies' through performance life to rearticulate what could be said about the body and how it dwells in the city that is called, 'home.' "Changes: A City in Circulation," the first chapter, considers many differing conceptions of 'time' and 'space' which have affected how dwellers experience, and imagine Hong Kong as their "house" and "home." The second chapter, "His(her)stories: Ethnographies of the House and Body," discusses the excavating and editing of perceptions, experiences and memories for performative projects, and how difficult it has been to create 'local-ethnographies' of what it means to be a dweller in Hong Kong through any single historical interpretation. The third chapter, "Stretching the Limits: Between Bodies and Language" analyzes the instrumentality of the body and voice of performers, and how the body and voice have been key to stories that are told through performance life. "Traces of the Familiar: Between the Public and Private," the fourth chapter, looks at the interrelationship between 'self' and the 'body social,' and explores through what is staged, whether what is 'familiar' as well as 'unfamiliar' have been made 'sharable' as part of the personal stories, use of found objects, and the inhabitation of urban space that are relived and exhibited through performative projects. "Working with Human Material through Performative Work," the fifth chapter, examines the challenges to art being perceived as work, and how what is worked upon through performative laboring has been affected by, but in turn, has the potential to shape the relations of production of its times. As performance life continues to bring together those from disparate parts of the city together at least for a brief moment in time, the sixth chapter, "Dwelling Places: Somewhere Between the 'Outside' and 'Inside,'" is concerned with how my own participating, observing, researching, and writing could also be points of contact, as 'stranger' and 'friend,' 'outsider' and 'insider,' to those met through the borrowed spaces of theatre. My hope is that what is written is not an ending, but a beginning too to more entrances that could be shared, and further conversations that could be held.
Anthropology

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McCauley, Kate Louise. „A-level drama and theatre studies in urban and rural English settings at a time of post-16 educational change“. Thesis, University of Leicester, 2007. http://hdl.handle.net/2381/30929.

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This thesis examines how a two-year Drama and Theatre Studies Advanced (A) Level course is being delivered by a selection of teachers in schools and colleges in both urban and rural English settings. I analyse this subject's specifications from three awarding bodies and closely examine how they are being implemented in six sixth form centres. The government's proposed alternative to the A Level system, the 14-19 Education and Skills White Paper (DfES, 2005a), is also outlined. I offer a summary of the key features of this White Paper and then identify how the Qualifications and Curriculum Authority (QCA) interpreted this proposal when drafting their subject criteria for Drama and Theatre Studies. Each awarding body interpreted these criteria and then designed new draft General Certificate of Education (GCE) specification proposals. These three proposals are detailed here, but at the time of this study are being considered for accreditation by the QCA.;The reader is invited to question whether change to the delivery of this performing arts subject is needed and encouraged to consider the implications of these contemporary changes in Drama and Theatre Studies classrooms. Although there are many studies that focus on the effects of drama techniques in primary and secondary school classrooms, this research is different. It is unique because it emphasises the debate about how to deliver this specialist subject in sixth form settings. In addition, by outlining the latest processes that are ongoing during this period of educational change, this thesis questions how governmental reform impacts educational practice.

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Carroll, Kieran. „Joanna Murray-Smith and Daniel Keene : class oppositions“. Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16604/1/Kieran_Carroll_Thesis.pdf.

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Joanna Murray-Smith and Daniel Keene are both successful mid-career Melbourne playwrights. Taking them as a starting point and re-tracing an Australian theatrical lineage, this project explores new Melbourne narratives in which two branches of the Australian theatrical idiom converge in a single creative work, my play Friday Night, In Town. An analysis of the writing of Friday Night, In Town, authored by myself and presented for examination herein, demonstrates its narratives are structured with deliberate reference to Murray-Smith and Keene revealing a new form of contemporary urban playwriting. The play's originality, it will be shown, and its contribution to new knowledge, lie in its engagement with these playwrights and their Australian predecessors. These elements combine with a redeployment of the medieval pageant-play, which is thus reinvigorated as a mode of contemporary playwriting practice. The play text presented herein (Friday Night, In Town) represents 75 per cent of the weighting for this M.A. (by Research) with the exegetical component weighted at 25 per cent.

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Carroll, Kieran. „Joanna Murray-Smith and Daniel Keene : class oppositions“. Queensland University of Technology, 2007. http://eprints.qut.edu.au/16604/.

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Joanna Murray-Smith and Daniel Keene are both successful mid-career Melbourne playwrights. Taking them as a starting point and re-tracing an Australian theatrical lineage, this project explores new Melbourne narratives in which two branches of the Australian theatrical idiom converge in a single creative work, my play Friday Night, In Town. An analysis of the writing of Friday Night, In Town, authored by myself and presented for examination herein, demonstrates its narratives are structured with deliberate reference to Murray-Smith and Keene revealing a new form of contemporary urban playwriting. The play's originality, it will be shown, and its contribution to new knowledge, lie in its engagement with these playwrights and their Australian predecessors. These elements combine with a redeployment of the medieval pageant-play, which is thus reinvigorated as a mode of contemporary playwriting practice. The play text presented herein (Friday Night, In Town) represents 75 per cent of the weighting for this M.A. (by Research) with the exegetical component weighted at 25 per cent.

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Visser, Dominique. „Secret city : creating a living urban landscape in Pretoria’s CBD“. Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/31646.

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This dissertation explores the potential of new public landscapes developed in small scale lost, or latent spaces within the urban fabric of Pretoria, in order to change the CBD into a living city that encourages urban regeneration through tactical intervention. The urban voids of Pretoria will be mapped and a site developed using a series of tactical interventions. The exploration of current pop-up trends and guerilla urbanism as a vehicle for urban renewal provides the basis for the phasing process. C13/4/48
Dissertation ML(Prof)--University of Pretoria, 2012.
Architecture
ML(Prof)
Unrestricted

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Nicklin, Hannah. „First person theatre : how performative tactics and frameworks (re)emerging in the digital age are forming a new personal-as-political“. Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/14579.

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This study sets out to explore first person theatre as a means of opening the individual to the problems of contemporary capitalism and its increasing pervasion of the personal in an era of embeddedness enabled by networked pervasive technology. Firstly setting out key definitions and a theoretical analysis of the problems of being in the digital age in chapter 1, and then setting this against the history of interaction in performance in chapter 2. The study then goes on (in chapters 3-5) to investigate three key aspects of first person performance as personal-as-political; sound and the city, play and games, and interactive theatre. In the final chapter, The Umbrella Project develops a piece of first person theatre as practice, a method of investigation that is vital to a thesis that discusses politics, late capitalism, and the means to resist the message-sending of private interests as fundamentally only to be understood in practice. For this reason, too, chapters 3, 4 and 5 are supported by key case studies discussing other first person theatre practice. By placing the participant at the centre of the world-constituting process of theatre in the hot space between what is and what if this study suggests that first person theatre is able to open the contemporary individual to an inbetween where they might re-see, reflect and react to what is. To imagine and, if wished, act upon a what if. In an age of the disrupted near and far, the vanishing of the interface, of the false rhetoric of choice of personalisation , and the often false rhetoric of agency at the end of the era of broadcast, first person theatre offers the subject a route to individual agency, an understanding of the urban environment as construct, and to their relationship with the subjective other something which this thesis suggests is a personal-as-political practice to rival the Spectacle of late capitalism.

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Fusik, James Paul. „The Theatrical Saxophone: Visual and Narrative Elements in Contemporary Saxophone Music“. Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363599296.

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Kamols, Nicholas. „Institutional cultures and how they affect participatory planning: Challenges and strategic responses“. Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/208256/1/Nicholas_Kamols_Thesis.pdf.

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This thesis provides an in-depth look at institutional barriers facing participatory planning in Queensland, Australia. It employs qualitative methods to explore institutional cultures hampering planning practitioners. Planning theory and scholarship in human geography and participatory design is used to analyse findings. The research identified institutional constraints that inhibit the public’s ability to participate in urban planning. The study specifically focussed on the common issue of engagement theatre, that is, creating the appearance of public influence rather than enabling meaningful pathways to participatory decision-making processes. The study provides recommendations for practitioners to navigate institutional constraints and improve planning practices.

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Santos, Marcia Rodrigues. „Palimpsestos do sítio Ruínas do Teatro : perspectivas da arqueologia urbana na cidade de Laranjeiras-SE“. Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/3221.

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This work exposes the outcomes obtained from the research performed in the urban context ambit that focus on Urban Archaeology as a support to understand the city of Laranjeiras, Sergipe. The city here is understood from the construction of modernity based in the practices and social behavior resulting from the adoption of the bourgeois way of life. The purpose is to draw a historical-urban panorama of Laranjeiras of the nineteenth century and analyze their dynamics, under the hypothesis the local construction of modernity from representations and practices politics, economic and social of its population. Therefore, I approached about the historical site “The Ruins of the Theatre”, this local was the stage for many activities that constituted its palimpsests. The methodology applied is solidified on the theoretical reference of Urban Archaeology to interpret and contextualize the history of the building and, thereby, identify the evolution of the city of Laranjeiras and its urban development. The results allowed to build the concept of modernity from the particularities of the landed elite, of German immigrants, free workers and the large number of slaves, social agents responsible for building, spread and consolidation of ideas of modernity that desolated the Brazil at the turn of XIX century.
Este trabalho expõe os resultados da pesquisa efetivada no âmbito da Arqueologia Urbana como aporte para interpretar a cidade de Laranjeiras/SE. A cidade aqui é entendida a partir da construção de modernidade consubstanciada nas práticas e comportamentos sociais resultantes da adoção do modo de vida burguês. O objetivo é traçar um panorama histórico-urbano da Laranjeiras Oitocentista e analisar a sua dinâmica, tendo como hipótese a construção local da modernidade a partir de representações e práticas políticas, econômicas e sociais de sua população. Para tanto, abordei o sítio histórico “Ruínas do Teatro”, palco de várias atividades, que constituíram os seus palimpsestos. A metodologia aplicada esta solidificada no referencial teórico da Arqueologia Urbana para interpretar a história do edifício e assim, identificar o desenvolvimento urbano da cidade de Laranjeiras. Os resultados permitiram construir a concepção de modernidade a partir das particularidades da elite agrária, de imigrantes germânicos, dos trabalhadores livres e do grande contingente de escravos, agentes sociais responsáveis pela construção, propagação e consolidação das ideias de modernidade que afetaram o Brasil na virada do século XIX.

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Spina, Danton Christopher. „Confused Spaces: Theatricality as a device for defining different types of public space“. DigitalCommons@CalPoly, 2013. https://digitalcommons.calpoly.edu/theses/1136.

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Confused Spaces has come to the conclusion that theatricality can be a device for defining different types of public space. This book aims to define theatricality in architectural terms by taking principles from the disciplines of theater and urban design. It limits the scope of the definition to a specific set of elements of theatricality that include spectacle, transition, flexibility, and compactability. After attempting to define why these elements of theatricality are valid architectural concepts, the text then pushes to understand the experience that these elements can create. Through the use of historical and contemporary references, an argument for theatricality can already be found to exist but simply has not been clearly defined. The best methods of studying the design concepts are initially discussed. It is believed that in addition to a thorough case study of an existing structure which practices theatricality, the best way to explain the concepts of the idea as well as analyze them would be through several design attempts. Architectural competitions become the venue for experimentation. Three competition entries are submitted that attempt to implement theatricality. One more competition is created and results in an exhibition of the entries as well as an installation which can be studied and analyzed in a physical space. By using principles distilled from all the preceding research and design analysis, a theoretical large-scale design is explored. The design combines significant site data with all the design principles defended in the text up to this point. The design becomes the most complete visual representation of the core concept for theatricality. In conclusion, it is determined that the principles of theatricality clearly have a significant impact on the public and the pedestrian experience. It is encouraged for the concept to be used as a design device for creating pedestrian-friendly spaces in the future.

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Pavlíček, Tomáš. „Slovinské národní divadlo v Lublani“. Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215579.

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Slovene national theatre in the centre of Ljubljana as a part of existing city block. The composition of buildings creates new urban areas as a continuation of the urban axis of Josip Plečnik. The basic principle was to resolve the issues of entry into building, the definition and organization of space inner block, the creation and cultivation of new and existing urban areas. Unifying element of the whole composition is solution to the facade, which paraphrases the high order, typical for the surrounding buildings and significant not only for cultural buildings. As a contrast to massive and heavy mass of facade stand glass facade which makes lighter impression. White facade adds significance to the composition.

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Hsu, Buo-yuan. „Urban square as theater : issues of continuity and discontinuity in urban design“. Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/67417.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.
Includes bibliographical references (p. 77-78).
This thesis tries to establish some criteria for designing a good urban square, with concern for the static and dynamic approaches. The former refers to aesthetic issues, and the latter refers to social and contextual ones. I start by examining the phenomena of modernity from two aspect: the impact that modernity has on contemporary cities, and its influence on today's' people. Basically, it has made today's urban spaces inhuman, and made people lose their senses of self, the most basic and instinct concept linking body and environment. The issues discussed here are the time-space notion, self-identity, 20th century urban utopias, and the public-private relationship. Then the discussion goes to the dialect between" continuity" and" discontinuity." The argument is that discontinuity is necessary for creating abundant images of a city. It links all the elements on the urban level, and interestingly makes the whole urban environment continuous. The concept of "theater" is employed as a tentative framework to connect the theory and the practice parts, namely the criteria development. An analog based on some features shared by the urban square and the theater is taken to specify the characteristics of the urban square. Finally, three criteria for designing the urban square, boundary, theme, and collective activities are developed through studying some cases.
by Buo-yuan Hsu.
M.S.

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Vale, Alexandre Fleming Camara. „Scenes of an Implicit Public: marginal territorialities, pornography and transvestite prostitution at a movie theater“. Universidade Federal do CearÃ, 1997. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10752.

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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
This work is the result of a research developed in a movie-theater locateded in downtown Fortaleza. In this research, we seek to unveil the underlying logics of the socializing that used to take place in this specific social and cultural space, emphasizing the transvestite prostitution market inside of it. We will show some of the mental and corporal schemas which this concrete reality evokes, seen as a symbolic matrix of practical activities, feelings, conducts, thoughts and judgement on the part of the spectators that used to make up this space. The Jangada movie-theater was shut down in july, 1996, and played an intermediary role in the general process of reorganization of the âsocial geographyâ of the local movie housesâ. In downtown Fortaleza pornography has become destiny, and after Jangada, the emerging movie houses represent a new configuration as to the exhibition of this cinematographic genre, not only because of the video format technology now used, but also because of the territorialities that they give place. This dissertation is intended to be a critique contribuition to the thinking of the town spaces and territories, the existing conditions of those who make a living out of the prostitution market and the coming into being of socializing places which, having porn iconography as condition and pretext, give visibility to the alternative modes of sexuality and end up producing new and unexpected territorities in relation to the shaping and disciplinary architecture of a movie theater.
Este trabalho Ã o resultado de uma pesquisa desenvolvida numa sala de cinema especializada na exibiÃÃo de filmes pornogrÃficos, localizada no centro da cidade de Fortaleza. Nessa pesquisa buscamos explicitar as lÃgicas subjacentes Ã socialidade que tinha lugar nesse espaÃo sociocultural especÃfico, enfatizando sua inserÃÃo no circuito exibidor local e o mercado da prostituiÃÃo travesti no interior da mesma. Discorremos aqui sobre os esquemas mentais e corporais que essa realidade concreta evoca, vistos enquanto matriz simbÃlica de atividades prÃticas, sentimentos, condutas, pensamento e julgamento por parte dos espectadores que compunham esse espaÃo. O Cine Jangada teve suas portas fechadas em julho de 96 e foi âdivisor de Ãguasâ de um processo geral de reordenaÃÃo da geografia social das salas de exibiÃÃo. No centro da cidade, pornografia virou destino e as salas que surgiriam depois do Jangada representam um fato inÃdito na forma de veiculaÃÃo desse gÃnero cinematogrÃfico, nÃo somente devido a utilizaÃÃo do formato de vÃdeo para a exibiÃÃo desses filmes, mas tambÃm devido Ãs territorialidades que dÃo lugar. Esta dissertaÃÃo pretende ser uma contribuiÃÃo crÃtica para pensar os espaÃos e territÃrios da cidade, as condiÃÃes de existÃncia de alguns que vivem da atividade prostitutiva e a constituiÃÃo de lugares de convivÃncia que, tendo a iconografia pornÃ como condiÃÃo e pretexto, dÃo visibilidade ao exercÃcio de uma determinada forma de sexualidade e acabam por produzir territorialidades novas e imprevistas em relaÃÃo Ã arquitetura disciplinar e enquadradora de uma sala de exibiÃÃo.

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Medina, Alejandro Josue. „Urban Canopy“. Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/44892.

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This thesis explores the definition of an urban canopy, how civic architecture can create a space for the pedestrian in the city, and the elements which can compose such a space. Experimentation in the urban canopy allows definition into the protective nature of such an archetype. Filtering and entrance techniques are discovered to allow access by the pedestrian only. The structural and spatial composition of the space is also developed to enhance human interaction and usability. Layering provides different levels of access and privacy as different groups use the space. And finally the employment of light highlights key elements and creates a presence in the space. This covering is designed to protect more than just the citizens below. It creates a place that fosters civic community under the a the generous shelter of a new urban institution.
Master of Architecture

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Garcia, Javier A. „Re-remembering the Royal Theater: Public History, Place, and Urban History“. Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/148542.

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History
M.A.
The Royal Theater was a public space which happened to be located in the path of the proposed Crosstown Expressway. From preliminary research, including interviews, it is clear the community feared displacement. During the early twentieth-century, before the invention of television, the theater existed as a place of entertainment for the entire community. Children as well as adults attended the theater as a form of escapism and during the days of segregation, The Royal Theater provided an entertainment space for African Americans which could not be found at White theaters. This thesis will attempt to explore what role The Royal Theater, a significant public space in the heart of this community, played in the tumultuous time of the proposed Crosstown Expressway.
Temple University--Theses

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Li, Ka-ming Kent. „Reinvigorating Cantonese opera in Yau Ma Tei : a revivified urban district /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25955056.

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Braun, Lori. „Montreal suburban nonplaces : Famous Players theatres and the deterioration of urban community“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79748.

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The goal of this thesis is to examine the way in which economics shape suburban Famous Players megaplexes in Montreal and how they abet a destruction of urban community. I use Jameson and the critique of the Situationiste International to demonstrate the value, in this case, of examining the relationship between the economic and community. Jameson aptly describes an economic disorientation and identity crisis created by postmodern capitalism. The SI brings to light a loss of enchantment resulting from mass produced products and spaces. I describe the way in which the symbolism, architecture, and aesthetics of the megaplex are a direct result of the space's capitalist needs and form a place that is alienated, in every sense, to locality. Sorkin and Auge serve to further illustrate the way in which postmodern spaces are rootless non-places and risk destroying vital aspects of locality. I will also explore, using Buck-Morss and Eagleton, how the bonds of the megaplex non-place community are maintained through the sensual pleasure of virtual entertainment. I will argue that this entertainment and space, dislocated from community, abets a slow deterioration of identity with relation to place.

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Sarmiento, Allauca Oskar Alberto. „Escuela superior de artes escénicas en San Borja“. Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652077.

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El desarrollo académico de las artes escénicas en el Perú y Latinoamérica, a diferencia de otros países del mundo, no ha tenido un valor importante dentro de la educación de las personas. Por este motivo, la educación regular no incentiva el desarrollo de la creatividad artística del ser humano. Esto repercute en la creación de individuos a un solo tipo de educación, dejando de lado la formación artística del ser humano. El proyecto consiste en una Escuela Superior de Artes Escénicas en San Borja, la cual satisfaga las necesidades del usuario al que está destinado tomando en cuenta diversos criterios como la trama urbana, falta de seguridad en la zona, ausencia de espacios públicos y el desarrollo educativo de las artes escénicas con espacios de calidad diseñados con criterio. La propuesta desarrolla una estrategia de regeneración de la zona donde se ubica el proyecto creando una transición urbana entre los distritos de San Borja y Surquillo. Este documento cuenta con cinco capítulos en los que se desarrolla una investigación sobre la situación actual de las artes escénicas en Lima y las problemáticas existentes. Además, se revisa la tipología propuesta, el usuario, el programa arquitectónico, proyectos referenciales, el lugar propuesto y los criterios de elección para este. Para finalizar, explora sobre aspectos técnicos necesarios para el funcionamiento óptimo de la escuela y criterios de diseño que se tendrán al momento de realizar el trazado de la misma.
The academic development of performing arts in Peru and Latin America, unlike other countries in the world, has not had an important value in the education of people. For this reason, regular education does not encourage the development of the artistic creativity of the human being. This affects the creation of individuals to a single type of education, leaving aside the artistic formation of the human being. The project consists of a Higher School of Performing Arts in San Borja, which meets the needs of the user to which it is intended taking into account various criteria such as the urban plot, lack of security in the area, lack of public spaces and the educational development of the performing arts with quality spaces designed with criteria. The proposal develops a regeneration strategy for the area where the project is located, creating an urban transition between the districts of San Borja and Surquillo. This document has five chapters in which an investigation is developed on the current situation of the performing arts in Lima and the existing problems. In addition, the proposed typology, the user, the architectural program, referential projects, the proposed place and the selection criteria for it are reviewed. Finally, it explores the technical aspects necessary for the optimal functioning of the school and the design criteria that will be taken at the time of drawing up the same.
Trabajo de suficiencia profesional

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Winnike, Christopher John. „A Theater for Gallaudet University at Florida Avenue Market“. Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/42684.

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This thesis was inspired by the ingenuity of the inhabitants of the Florida Avenue Market, in Washington DC. Through small scale iterative design solutions and creative use of public space the residents, street vendors, and small business owners in the area have reinvented their urban condition. Using extremely limited resources, they have created a unique vibrant urban market that provides economic, social and cultural value for their neighborhood and the city. Recent political and economic pressures are causing the market to go through a major transformation. This project will propose an urban design vision for the next evolution of the market which aims accommodate the expansion of Gallaudet University, while celebrating the unique character of the place and dignifying its current users.
Master of Architecture

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Flori, Katherine. „Using Computing Technology in an Interdisciplinary Theater Curriculum for Urban High School Seniors“. NSUWorks, 2007. http://nsuworks.nova.edu/gscis_etd/519.

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In response to the technology explosion and to poor student performance on standardized exams nationwide, new education standards are being created at the federal, state and local levels. Yet, with all these innovations and a renewed focus on high schools, students graduate under-prepared for the job market or for higher education. Moreover, they lack the motivation to make the most of their final year of high school. This dissatisfaction promotes a systemic disengagement that is exacerbated in the exit year, known as senioritis. Fifty New York City high school seniors participated in a study to determine whether participation in a technology-infused, interdisciplinary program would encourage them to maintain their grades and attendance. The Experimental Group was comprised of 25 seniors involved in Art, Theater, Music, and Business classes. The Control Group was created from the remaining senior student body. A pool of Control Group students matching each Experimental Group participant in gender, academic average, and number of days absent was created. From each pool of matches, a Control Group participant was randomly selected. The common goal of the Experimental Group was the successful production of a play. This team effort brought together students and teachers in all involved disciplines. Students in this skills driven, results-oriented environment developed the 21th Century workplace skills of collaboration, creativity and cross-disciplinary thinking. Further, they applied their existing software skills, learned new ones as the need presented itself, and employed the appropriate technology tool for the task at hand. At term's end, academic averages and attendance records of both groups were compared using the data from the last term of the junior year as a baseline. While both groups maintained their academic averages, the Experimental Group also maintained its attendance. There was no significant difference between the two terms in the number of days absent of the Experimental Group. However, the Control Group significantly increased the number of days absent as compared with the previous term. The data suggests that one remedy for senioritis is engaging seniors in a technology rich, authentic workplace environment that cultivates 21 $I Century workplace skills.

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Soto, Aisha M. „Through the Eyes of the Homeless“. ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1946.

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When reviewing the entire project from start to completion, I can honestly say, Through the Eyes of the Homeless is a play about ten women and their plight. It illustrates their dealings with everyday issues of hurt, disappointment, abuse, love, and hope. I believe the true impact of this play is the undeniable prayer for help and hope within each monologue. Despite the horrors that are unveiled and released through hidden secrets, the undertone of betterment is truly resonating. My own expectation for this play is simply to strike awareness and understanding in the eyes of the people. It is my objective to have each audience member leave the show with a completely different perspective on homelessness. Homelessness seems to be one of those taboo societal problems the world chooses to turn away from because of lack of awareness. I believe it is fear of the unknown that keeps us blind, deaf, and dumb about certain issues. After all is said and done, I am simply asking anyone who reads this play, watches it, or hears it to listen to each voice carefully and the message it conveys.

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Zamani, Mohammadamin. „Théâtre, ville et pouvoir: Pour une étude de la spatialité urbaine du théâtre à Téhéran (2009-2019)“. Doctoral thesis, Universite Libre de Bruxelles, 2020. https://dipot.ulb.ac.be/dspace/bitstream/2013/313327/5/Contrat.pdf.

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Cette thèse étudie la scène théâtrale et ses transformations dans le contexte socio-politique de Téhéran entre 2009 et 2019 à travers le prisme de la spatialité (Lussault, 2007). Cette période se caractérise d’un côté par l’éclosion de nouveaux espaces de représentation de diverses natures architecturales, urbaines et institutionnelles et, de l’autre, par l’apparition de nouvelles formes d’investissement et d’appropriation d’espaces urbains à des fins théâtrales par les artistes et spectateurs. Pour interroger ces mutations, cette étude analyse trois cas– représentatifs du théâtre privé, du théâtre Off Stage et du théâtre Underground – à partir d’une approche théorique qui conjugue social production of space et social construction of space (Low, 2017). Ce faisant, la présente thèse démontre qu’au-delà des dimensions esthétiques et dramaturgiques, les évolutions de la scène théâtrale à Téhéran se traduisent surtout par un changement qui touche à la spatialité urbaine du théâtre. Cela se concrétise d’une part dans la transformation de l’agencement spatial du théâtre dans la ville et, de l’autre, dans les manières dont les relations et dynamiques sociales et politiques de la ville se spatialisent dans le théâtre. Du fait de ce double processus, et dans la conjoncture socio-politique tendue et changeante du Téhéran des années 2010, l’espace théâtral, jusqu’alors quasiment cloisonné et exclu de la sphère publique, émerge en tant qu’espace public. Il devient ainsi non seulement le lieu du politique, là où se rencontrent différentes forces politiques et sociales (Balme, 2014), mais aussi l’élément principal dans les dynamiques de pouvoirs entre elles. Sa production en tant qu’entité architecturale et urbaine, son occupation, son appropriation et même ses caractéristiques et frontières sociales, symboliques et discursives font alors l’objet de luttes, débats, négociations et interventions – parmi les plus tendus voire virulents que la capitale iranienne ait connus au cours de la dernière décennie – de la part des trois forces principales présentes sur le terrain :le pouvoir autoritaire et idéologique en place, les opérateurs économiques et financiers et les citoyens, en l’occurrence artistes et spectateurs. D’un côté, les forces politiques, idéologiques et financières dominantes mettent en place la privatisation du théâtre, qui est conceptualisée ici comme une stratégie spatiale (De Certeau, 1990). Elles régulent l’espace théâtral, sa production et son utilisation au moyen de multiples processus d’exclusion, d’uniformisation et de domination politiques, idéologiques et économiques. De l’autre côté, des citoyens déploient des tactiques (De Certeau), c’est-à-dire de nouvelles formes d’appropriation de l’espace en utilisant les brèches, incohérences et interstices dans la stratégie dominante. De ce fait, des espaces urbains produits, régulés et surveillés à des fins politiques, idéologiques, voire capitalistes, ouvrent la voie à de nouvelles formes d’agencies pour des artistes et spectateurs. Tantôt ces formes se traduisent par des actes de résistance, de lutte, de contestation (le théâtre Underground), tantôt par des négociations et des compromis (les théâtres privés) ou même par des contournements et des contre-expériences (le théâtre Off Stage). Cependant, quelles que soient la forme et les conséquences de ces interactions, celles-ci ouvrent des fractures dans l’ordre politique, idéologique et économique dominant la ville et son espace. Elles rendent ainsi possibles l’émergence et la survie de formes d’altérité dans la sphère et l’espace publics.
This thesis studies the theatre and its transformations in the socio-political context of Tehran between 2009 and 2019 through the question of spatiality (Lussault, 2007). This period is characterized, on the one hand, by the blossoming of new performance spaces of various architectural, urban and institutional natures throughout the city and, on the other hand, by the appearance of new forms of appropriation of urban spaces for theatrical purposes by artists and spectators. To question these mutations, this study analyses the three case studies – representative of private theatre, off stage theatre and underground theatre - from a theoretical approach that combines social production of space and social construction of space (Low, 2017). In doing so, the present thesis demonstrates that beyond the aesthetic and dramaturgical dimensions, the evolution of the theatre scene in Tehran results from a more significant change in the urban spatiality of the theatre. This materializes, on the one hand, in the transformation of the spatial organization of the theatre within the urban context and, on the other hand, in the ways in which the social and political relations and dynamics of the city are spatialized in the theatre. As a result of this double process, and in the tense and changing socio-political conjunctures of Tehran in 2010s, the theatre space, hitherto an almost compartmentalized space excluded from the public sphere, is manifesting itself as a new public space. Not only it becomes the political field where different political and social forces meet (Balme,2014), it also turns into one of the principal elements in the power dynamics among them. Its production as an architectural and urban entity, its occupation, its appropriation and even its social, symbolic and discursive characteristics and boundaries are then the object of struggles, debates, negotiations and interventions - among the most tense and even virulent ones that the Iranian capital has experienced in the last decade - on the part of the three main forces :the authoritarian and ideological power in place, the economic and financial operators and the citizens, in this case artists and spectators. On the one hand, the dominant political, ideological and financial forces are establishing the privatization of theatre, which is conceptualized here as a spatial strategy. (De Certeau, 1990). They regulate theatre space, its production and use through multiple processes of political, ideological and economic exclusion, homogenization and domination. On the other hand, citizens deploy tactics (De Certeau) that is, new forms of appropriation of space within the breaches, inconsistencies and interstices of the dominant strategy. As a result, urban spaces produced, regulated and monitored for political, ideological or even capitalist purposes immediately become the fields for new forms of artists and spectators’ agencies. Sometimes these forms take the form of acts of resistance, struggle, contestation (the Underground theatre), sometimes of negotiation, compromise (the private theatres) or even circumvention and counter-experiences (the Off Stage theatre). However, whatever the form and consequences of these interactions, they open up breaches and fractures in the political, ideological and economic order that dominates the city and its space. They thus make possible the emergence and survival of forms of otherness in the public sphere and the public space.
Doctorat en Arts du spectacle et technique de diffusion et de communication
info:eu-repo/semantics/nonPublished

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Zhuang, Jiayun. „Not yet farewell postsocialist performance and visual art in urban China /“. Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997745521&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Rein, Brian Scott. „Movie theaters and real estate : "an economic and marketing analysis of cinemas"“. Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78995.

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Drumwright, Colin Lee. „Regenerating Industry: An Urban Campus for the Arts Reclaimed from Lost City Fabric“. Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/73331.

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Cities form from layers of different elements and uses to create an urban fabric. These elements include the location, geography, demography, culture, transportation, and building type. Buildings can be thought of in a similar way. Today, successful urban and building design engages in the idea of mixed-use, not only in the program, but in the diversity of spaces created and users of the space. One lost layer to Alexandria is at the northern edge of Old Town. This area is bookended by the Potomac Electric Power Company's abandoned power plant. The site sits along the Alexandria waterfront and Mount Vernon Trail with views looking toward Washington, DC. The power plant closed its doors in 2012 and there are no plans yet to redevelop the site. To regenerate new life to this neighborhood, a new satellite campus for Virginia Tech']s Schools of Visual and Performing Arts will replace the abandoned plant. This campus aims to integrate a long lost piece of Alexandria's waterfront to the city and community. The signature building of this campus is a two-stage theatre that weaves together the new student body with the existing Alexandrian community.
Master of Architecture

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Wilson, Geoffrey. „Confronting Violence: Citizenship Performance and Urban Social Space in Bogota, 1985-2015“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555499239195763.

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Murray, Beth. „Nowhere to hide but together : a narrative case study of three classroom teachers, a drama specialist, and their supporters negotiating toward an artistic vision of teaching through drama in an urban elementary school /“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907957577.

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Antunes, Alexandre Borin. „Corpo-máscara em jogo : a rua como lugar de encontro“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/185252.

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Encontrar o jogo. Jogar com o encontro. Eis o motivo principal deste trabalho, que se desenvolve a partir de uma perspectiva artística, através de uma abordagem prática baseada em estudos teatrais que envolvem o jogo do ator com a máscara na rua. Por meio das experiências artísticas e pedagógicas com a Cia Familie Flöz, Irion Nolasco, Liane Venturella e Tiche Vianna, e através das práticas do grupo Máscara EnCena, este trabalho busca relacionar elementos que direcionam a expressividade do corpo, como o foco, interesse, ação, reação, triangulação, estados de leveza, peso, retração e expansão, assim como as qualidades físico-energéticas do buoyancy, potency e radiancy propostas por Arthur Lessac, afim de encontrar uma identidade entre corpo e máscara em relação criativa e interativa com a rua. A partir de práticas do processo de mascaramento do ator, ou seja, da transposição de qualidades físicas que condicionam ao corpo outras possibilidades expressivas, a presente pesquisa debruça-se sobre o jogo do ator com a máscara inteira expressiva em contato com a rua e a cultura urbana da cidade de Porto Alegre. Desse modo, o trabalho propõe a articulação entre tais princípios e a expressividade criativa do ator em jogo na rua, servindo-se de procedimentos e experimentações com a máscara.
Encounter the performance. Play with the encounter. This is the main objective of this research, which develops from an artistic perspective, through a practical approach based on theatrical studies that involve the actor's performance with the mask on the streets. This research seeks to relate elements which direct the expressiveness of the body, such as focus, interest, action , reaction, triangulation, states of lightness, weight, retraction and expansion, as well as the physical-energetic qualities of buoyancy, potency and radiancy proposed by Arthur Lessac, through artistic and pedagogical experiences with Cia Familie Flöz, Irion Nolasco, Liane Venturella and Tiche Vianna, and through practices of Mascara EnCena group, in order to find an identity between body and mask in a creative and interactive relation with the streets. Starting from practices such as the masking process of the actor, which is, the transposition of physical qualities that condition the body to other expressive possibilities, this research looks at the actor's performance with the expressive mask as a whole, having contact with the streets and the urban culture in the city of Porto Alegre. Therefore, the research proposes articulation between such principles and the creative expressiveness of the actor in performance on the street, using procedures and experimentations with the mask.

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Salvi, Greta. „Cultura teatrale e scenari urbani nella Milano del Triennio Cisalpino (1796-1799) : Tra impianti tradizionali e influenze francesi“. Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100099.

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Dans le Triennio 1796-1799 se déroule la courte vie de la République Cisalpine, l’une des unités politiques fondées par Napoléon Bonaparte pendant la Campagne d’Italie. Cette thèse étudie la culture théâtrale et les aspects de la représentation théâtrale qui caractérisent la République Cisalpine et surtout sa capitale, Milan, dans cette conjoncture historique. La thèse avancée concerne l’emploi des pratiques de la représentation théâtrale en tant qu’instrument d’éducation populaire et de diffusion des principes de la Révolution de 1789. Un but poursuivi, avec des intentions différentes, par les autorités françaises autant que par les patriotes italiens qui étaient pour la Révolution Française.L’étude traite trois questions fondamentales : les changements urbanistes et architecturaux qui investissent Milan pendant le Triennio, le théorie et la pratique théâtrale, les fêtes publiques. Les relations culturelles entre Italie et France ont été l’objet d’une attention particulière. La documentation sur laquelle la présente étude est fondée est constituée par des éditions imprimées de pièces théâtrales, des descriptions de fêtes, des édits, des correspondances et des périodiques de l’époque, gardés dans des bibliothèques et des archives milanaises et parisiennes
In the Triennium 1796-1799 took place the short life of the Cisalpine Republic, one of the political units founded by Napoleon Bonaparte during the Italian Campaign.This work studies the theatrical culture and the performing aspects which characterized the Cisalpine Republic and particularly its capital, Milan, in that historical juncture. The thesis asserted here is about the use of performing practices as an instrument of popular education and spreading of the principles of the 1789 Revolution. This aim was pursued by both French authorities and Italian pro-Revolution patriots.This work tackles three main points: the architectural and urban changes which affected Milan during the Triennio (Triennium), the theory and practice of theatre, the public celebrations. The cultural relations between Italy and France have been investigated with special attention. This study is based on some documents kept in archives and libraries of Milan and Paris, such as printed editions of theatrical plays, records of celebrations, correspondence and periodicals from the age of the Cisalpine Republic

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Menting, Annette. „Urbane Topologie Chemnitz: Spielstätten im Stadtkontext: Urbane Topologien und Orte für die Aufführungskünste“. Arbeitshefte Architektur und Raum für die Aufführungskünste. ISSN: 2702-3583, 2021. https://slub.qucosa.de/id/qucosa%3A75223.

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In den Urbanen Topologien zu Orten für die Aufführungskünste werden die räumlichen, kulturellen und historischen Kontexte von Theaterbauten, Spielstätten und Festivals in ausgewählten kleinen und großen Großstädten untersucht. Ein erweitertes Spektrum von Spielstätten wird dargestellt, um zu verfolgen wie die performativen Künste sich in den Stadtraum bewegen und Zugänge zu den Räumen geschaffen werden. Der Frage, inwiefern Raumpraktiken als konstitutive Gestaltungsparameter sowohl aus Sicht der Architektur als auch der Aufführung seit den 1960er-Jahren verstanden werden, wird darüber hinaus in Fallstudien thematisiert, die Räume und Bauten von Aufführungsorten mit ihren Entwicklungs- und Planungsprozessen und Gebrauchsweisen aufzeigen. Das dritte ARBEITSHEFT widmet sich den Orten für die Aufführungskünste und den Spielstätten im Stadtkontext von Chemnitz.:1 Einleitung 2 Bestandsaufnahme Spielorte/Spielstätten in Deutschland 2.1 Zur Darstellung der Spielorte-Liste in Kartierungen und Tabelle 2.2 Kartierung: Übersicht der Spielstätten 2.3 Kartierung: Öffentliche und private Spielstätten 2.4 Kartierung: Öffentliche Spielstätten 2.5 Kartierung: Private Spielstätten 2.6 Beobachtungen zu Spielstätten in Sachsen 3 Urbane Topologie: Methodik 4 Bestandsaufnahme und Topologie Chemnitz 5 Stadtbild Chemnitz 5.1 Selbstdarstellung 5.2 Stadtentwicklung im Verhältnis zu Kunst, Kultur und Architektur 5.3 Kulturentwicklung 5.4 Beobachtungen zum Stadtbild 6 Orte: Kartierungen Spielstätten Chemnitz 6.1 Regionskarte: Spielstätten-Orte in der Region 6.2 Stadtkarte: Verkehr und Dichte 6.3 Stadtkarte: Dimension der Spielstätten 6.4 Stadtkarte: Sparten der Spielstätten 6.5 Stadtkarte: Nutzungsart der Spielstätten 6.6 Stadtkarte: Gebäudetypologie der Spielstätten 7 Zeit: Entwicklungen Spielstätten/Festivals Chemnitz 7.1 Diagramm Spielstätten/Festivals 7.2 Beobachtungen zu Entwicklungen von Spielstätten 8 Räume: Karteikarten Spielstätten und Festivals Chemnitz 8.1 Karteikarten zu Spielstätten und Festivals 8.2 Beobachtungen zu Spielstätten und Festivals 9 Urbane Topologie Chemnitz: Zusammenfassende Betrachtungen 9.1 Dichte und Vielfalt der Spielstätten 9.2 Bedeutung von Spielstätten in Stadtentwicklungsprozessen 9.3 Entwicklung der Spielstätten seit den 1960er-Jahren 9.4 Aktuelle Kulturentwicklungen 10 Anhang 10.1 Quellen / Bildnachweis 10.2 Anmerkungen 10.3 Impressum

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Dissertationen zum Thema „Urban theatre“

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